The way that I got involved with microtonal music was, frankly, through jazz.
I like going to New York. I like the galleries and the theatre and the restaurants and bars and music. I think that city is more alive than Los Angeles.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
I found that it wasn't so oddball to like music and poetry and visual arts, they're kindred spirits.
You know, every country needs another country to mock, and Australians seem to be pretty good at impersonating American people. Maybe it's because all the movies and music and TV you see there is from America, so we just have the knack for it.
Music is the social act of communication among people, a gesture of friendship, the strongest there is.
It was stumbling on to really the bible of the blues, you know, and a very powerful drug to be introduced to us and I absorbed it totally, and it changed my complete outlook on music.
The music industry is very small.
I was born in Alabama and my first live music experiences were in church. Every Sunday we watched regional gospel groups on television singing their hearts out.
For me, genres are a way for people to easily categorize music. But it doesn't have to define you. It doesn't have to limit you.
Before I start, I create a set list that I listen to while I'm writing. For 'Intimate Apparel,' I loaded Erik Satie, Scott Joplin, klezmer music, and the American jazz performer and composer Reginald Robinson.
I will never forget experiencing Venice for the first time. It feels like you are transported to another time - the art, music, food and pure romance in the air is like no other place.
Instrumental music is increasingly marginalized and there's just no outlet, there's no venue for it, in terms of media.
To me, our music is like Jamaican stuff - if they can't hear it, they're not supposed to hear it. It's not for them if they can't understand it.
I want to make music three-dimensional. I want to make a song also a painting, and a painting also a culinary experience.
There's something about that blind trust between Timbaland and me - two people that have almost nothing in common except for a love of music - that is really rejuvenating.
Funny songs aren't usually that good. Like Weird Al and maybe a couple of Beatles songs, but it's kind of hard to bring humor into rock music in an interesting way.
All my concerts had no sounds in them; they were completely silent. People had to make up their own music in their minds!
I don't work with Sia every day; it depends what we do, whether we do performances or music videos, so the schedule is weird, but when we're off, we always try to see each other in between. We just hang out; we went to brunch one time, but for the most part I go to her house, and we eat and watch TV.
More labels should be like that. Instead of putting these records out myself, I should have just signed with them, but they probably don't like my music (laughs).
I have a big problem with piped music. I like either silence or to listen to it properly.
I used to like to set different film clips to classical music, not even my own songs, but make little movies.
Bach's music is really some of the greatest. I think, in some ways, Bach is the most profound composer of all.
The music is in the lead here, and a large part of this, I have no idea what I'm doing. I feel a closer bond with the craft of songwriting, stronger than I ever have.
I think film is the best medium to inspire people. It's a combination of image, dialogue, and music, which can make for a powerful message or a simple escape.
I'd have these weird experiences where I'd just be walking down the street with this chord progression in my head, this happened more than a few times, and I'd walk home and find a fax in my machine and it would match the music in my head.
His music was direct from his heart and brain in the purest form possible.
Originally, I didn't play any New Order when I deejayed. I suppose it comes from being a little embarrassed or humble or whatever. But people were coming to see me because of New Order, so in the end, I had to realize that if they were using my name on the poster, then maybe I should play some of the music.
You know how a lot of people say, 'I lose myself in music,' or 'I like to escape,' but I want my music to be more of an awakening. I want it to make people to be aware of life; I don't want my music to be a distraction. I want to light a path.
I mix up all styles on my albums because that is what music is about now.
When we talk about my music, it's a cross between Tina Turner, Alanis Morrisette, and Diana Ross. It's the glamour and the showiness of Diana Ross; the ferociousness and pain of Tina Turner; and the vocals of Alanis.
I grew up mostly with classical, big band, and a lot of Irish music - I really didn't start listening to rock and roll until I was maybe sixteen.
I like to play music, and I like to be funny, so I just do both at the same time.
The 'Black Album' was my real first introduction to Metallica. I was, like, 12 or 13 at the time. We were just getting into music, and I liked that album a lot, but it didn't necessarily change my life. But when I started picking up all the other Metallica records, 'Master of Puppets' was the one to me that stuck out with its songwriting.
I've recently discovered Cardiobar. It's in L.A. and it has Cardio Aerobics. It's all women with no shoes on, dancing to upbeat music. I'm just dripping sweat at the end of the class. It's very fun for me, and it makes me want to work out.
The music rights at the time cost me $12,000 in 1964 money, which is about double now or whatever. But I cleared everything. I had a lawyer in New York. And it was cleared for use in a short subject, not a feature.
